Hoi! tina
Scorching down
And Legions Mass
Take up our soul
And as the Ancients told
With the rain of the battle
You will cry
When we spill out your colors
Spilled in red
In the night…
You will die… die, die in pain
Fuck You
War rages on
And this is the hour
With our hearts pounding
In triumph of this year
We are warriors of Wotan
We kill Christian cowards
And their blood is spilled
Fuck You
None will survive
In this war
Bring the water
Of these legends told
Our might is Sacred to us
We never surrender
Before we are crushed
Eternal doom, from us, the bringers of fear
Unless you bow before us
And the star that lights the night
Is the eye of the one with horns
I stand at the fires, still my breath steams in the cold
In the light of the fullmoon I mount my horse
It’s the night of retribution and christian holocaust
From the pyres their screams call our old horn’s return…
Sage founded Wipers in Portland in 1977 along with drummer Henry and bassist Koupal, originally just as a recording project. The plan was to record 15 albums in 10 years without touring or promotion.[3] Sage thought that the mystique built from the lack of playing traditional rock ‘n’ roll would make people listen to their recordings much deeper with only their imagination to go by. He thought it would be easy to avoid press, shows, pictures and interviews. He looked at music as art rather than entertainment; he thought music was personal to the listener rather than a commodity.
Sage later remarked on their initial reception: “We weren’t even really a punk band. See, we were even farther out in left field than the punk movement because we didn’t even wish to be classified, and that was kind of a new territory. … When we put out Is This Real? … it definitely did not fit in; none of our records did. Then nine, ten years later people are saying: ‘Yeah, it’s the punk classic of the ’80s'”.
The Wipers had an influence on Nirvana.[8] Wipers gained significant exposure as a result of Nirvana’s 1992 covers of two songs from Is This Real? (“D-7” on the EP Hormoaning, and “Return of the Rat” on the Eight Songs compilation), and Nirvana frontman Kurt Cobain‘s mention of Wipers as a major influence. As did Cobain’s wife Courtney Love, whose band covered “Over the Edge” both on recording and frequently at live performances. The Wipers were influential for the grunge music scene in general, also being cited by the Melvins, Mudhoney and Dinosaur Jr.
Rolling Stone has called the record “proto-grunge“, and everyone from Melvins to Nirvana to Hole have also covered their work.
Along with other Wipers records, Youth of America has since come to be acknowledged as an important album in the development of American underground and independent rock movements of the early 1980s.[17] Thurston Moore of Sonic Youth cited the album as an inspiration,[18] and covered the track “Pushing the Extreme” with Keith Nealy for Wipers tribute album Fourteen Songs for Greg Sage and The Wipers.
The title track was covered by the Melvins on their 2001 album Electroretard and Mission of Burma on the live album Snapshot. Kurt Cobain listed it in his top 50 albums of all time.
A weighty, lumbering discography made up of fairly frequent releases once or twice a year is often the calling card of a subpar artist. Very rarely can someone release consistent, high quality music that regularly. The presumption that one can is either a mark of arrogance, or a compulsive need to keep putting out material of any standard just to remind people you still exist. A more challenging but noble pursuit is to sit on works, discard those that are not worthy of your best, and risk being forgotten or written off before amassing enough high quality material to release it to the world. Artists that do the opposite risk any music of worth they actually released being buried under a wash of average output. It’s as if they’re desperate to stumble on whatever original flame there was, almost as if works of actual quality occurred by mere accident.
By 1970, Green, the frontman of the band, was using LSD. During the band’s European tour, he experienced a bad acid trip at a hippie commune in Munich. Clifford Davis, the band’s manager, singled out this incident as the crucial point in Green’s mental decline.[23] He said: “The truth about Peter Green and how he ended up how he did is very simple. We were touring Europe in late 1969. When we were in Germany, Peter told me he had been invited to a party. I knew there were going to be a lot of drugs around and I suggested that he didn’t go. But he went anyway and I understand from him that he took what turned out to be very bad, impure LSD. He was never the same again.”
While on tour in February 1971, Jeremy Spencer said he was going out to “get a magazine” but never returned. After several days of frantic searching the band discovered that Spencer had joined a religious group, the Children of God.
In 1976, the band was suffering from severe stress. With success came the end of John and Christine McVie’s marriage, as well as Buckingham and Nicks’s long-term romantic relationship. Fleetwood, meanwhile, was in the midst of divorce proceedings from his wife, Jenny. The pressure on Fleetwood Mac to release a successful follow-up album, combined with their new-found wealth, led to creative and personal tensions which were allegedly fuelled by high consumption of drugs and alcohol.
Tusk sold four million copies worldwide. Fleetwood blamed the album’s relative lack of commercial success on the RKO radio chain having played the album in its entirety prior to release, thereby allowing mass home taping.
During the documentary Nicks gave a candid summary of the current state of her relationship with Buckingham, saying “Maybe when we’re 75 and Fleetwood Mac is a distant memory, we might be friends.”
The Finnish multi-instrumentalist Lauri Penttilä, who usually goes by the name of Werwolf, is a somewhat strange figure. In addition to playing in numerous black metal bands and running his own record label, he fronts the heavy/glam metal band Armour, who have been featured on Finnish national TV. Internationally he is probably best known for being the sole member of underground black metal force Satanic Warmaster, who have gotten unwanted attention in the past due to some not so subtle flirtations with right wing-extremism. In kinder terms, Werwolf is a multifaceted artist who is no stranger to controversy. Satanic Warmaster latest album, Nachzehrer, was originally released in 2010, and is being reissued by Penttilä’s own Werewolf Records.
Don’t get me wrong: I like my fair share of “trve kvlt blakk metul”, i.e. the hordes of bands that record in grim conditions to enhance atmosphere. Even Satanic Warmaster’s earlier releases, such as Carelian Satanist Madness, showcase such a raw and primitive recording style and are real masterpieces. This single doesn’t even come close to that.
It appears as if somebody has acquired a tape recorder from the late eighties and stood outside the bedroom of ‘Werwolf’, recording him as he sang to a bootlegged backing track. This recording then appears to have been transferred from one tape to another, with each transition losing musical quality, until the result has finally been found by Mr. Penttila and released. Both songs are really non-descript and pathetically similar, so I’ll review them together.
Often, re-releases of old black metal songs strike me as very sad. It often seems as if the artists are trying to resurrect a majesty that ought to be left to solidify its legacy in the past, rather than moving onward into a new future.
With that said, Satanic Warmaster’s most recent release is not bad. Strength and Honour was an incredible black metal album, each song was a masterpiece in its own right, and the hateful chaos that surrounded its out-from-the-shadows release added to the character of the album.
Mike Meacham’s vocals are very low growls and the timbre fits the hopeless milieu of the lyrics, which have an unblinking focus on suicidal depression. I hope the boys in the band are working through their depression issues with this music, because if they’re not, I’m afraid they’ll all be dead before we get a sophomore album! Kidding aside, the vocals and the music combine for a beautifully tragic atmosphere that scratches a very specific itch.
Greece—still shocking the narrow minded populace by flaunting nude statues, continues to add to this conservative world dilemma once again with a morbidly compulsive metal group this time around from the late 20th century. One so mystical they make Merlin look like a birthday party magician, and one who’s name draws a further divide by shaking up even more numbers, which is so bluntly called “Rotting Christ.” There’s just no reading between the lines on that one.
“That’s not metal.” This statement has served as one of the most potent catalysts of petty arguments and pointless squabbling within heavy metal. There is always a constant war waging between those who think traditional metal should be held in higher regard than its counterparts where even the slightest detour towards experimentalism should be considered blasphemy. Opposing this army are those that prefer to evolve with the genre. As level-headed as this seems, they use stereotyping as their weapon and focus on aesthetics, age and apparent dim-wittedness of their opponent.
While heavy metal has evolved, it still retains its primary instincts: strength and unity. This is where the eighth album of Grand Magus comes into battle. Let’s take a moment to observe the mechanics behind this trio. They hail from Sweden- one of the most infamous origins of the Vikings, their lyrics revolve around Norse mythology, paganism, pride and power that is flanked only by their victorious soundscapes. “Sword Songs” is bound to be so muscularly ‘metal’ that it could to turn a cat into a lion. However, the sheer accessibility of it will easily win over soldiers from either sides of the battlefield.
Niemand weiß, wer ich wirklich bin!
Niemand hält das Böse auf!
Niemand weiß, dass ich ein Werwolf bin
Und das Grauen nimmt seinen Lauf!
rafazardly 